In the fall of 1953 interest in Harvard drama was at one of the lowest points in the long history of College theatrical activity. For whereas at one time or another in the past, drama had occupied a high position in the undergraduate's life, it was then one of the least participated in--and least regarded--of the many extra-curricular activities at the College. The Harvard Dramatic Club, the acknowledged leader of student drama since its inception in 1908, was in bad financial shape after a barren year in which othello was its only production. There were other organizations to be sure --The Hasty Pudding was still attracting its certain audience; and two very localized House Groups, the Lowell House Opera Society and the Winthrop House Music Society.

Revival of 'Dramatic Spirit'

But even in this time of relative dramatic inactivity, there were those who cried for more interest in the art of drama at Harvard--a school that had known the famous Baker 47 Workshop, which had turned out the great Eugene O'Neil, the sensitive Robert Sherwood, and a number of other men who took prominent roles in the growth of the American Theatre in the 1920's and 30's. Behind their pleas for a revival of the "dramatic spirit" that was lacking at Harvard 1953, these advocates called for a Harvard Theatre, without which, they were sure, a revival was impossible. A CRIMSON editorial said "The need for a theatre has been a long-standing one, and undergraduate drama has suffered from lack of it. The facilities now available, Sanders Theatre, Fogg Court and the like, are pitiful and have had much to do with the recent decline of both undergraduate theatrical activity and student interest. The new building will provide a strong stimulus to both of these factors in the equation."

In the year 1956, however, these disturbed words have an ironical significance, for most theatre people still desire an actual Harvard Theatre, but whereas in 1953, there was virtually no interest in dramatic activities, some 12 different organizations are presently flourishing, possessing an exuberance and creative drive that was totally unforseen then.

These groups not only use Sanders and Fogg Court to excellent advantage, but have taken over the House Dining Halls and antiquated Agassiz Theatre to produce drama that is not only exciting but also of an unusually high quality. Last weekend for instance, four different College groups put on shows of almost equal artistic merit, varying from the definitely "off-beat" Sartre to the imposing presentation of Sophocles in the original Greek.

New Drive for Theatre

And while the drama has grown in this year to such proportions that some people fear it may eventually "explode" and destroy itself, in the last month a new revival for the long-discussed Harvard Theatre has started. The Visual Arts Committee, headed by multi-millionaire John Nicholas Brown '22, recommended in its report that the Theatre be built as part of a large-scale Visual Arts Center. The question now is not "will there be a Theatre?" but "when" and "what will it be like?" There is a general air of optimism surrounding the eventual erection of the Theatre that was unknown in 1953.

The men who are doing this actual fund raising have been very quiet, however, about the present financial situation. One of the leaders in the campaign, John Mason Brown '23, who in 1953 assumed control of the Alumni Theatre Committee, said then that over $50,000 had been pledged. His last report given to the CRIMSON two weeks ago is that pledges are "coming in very slowly." University officials have indicated that they are trying to obtain one large donor, rather than conduct an all-out campaign. It is understood that in the last year, one prospective donor withdrew his offer at the last minute.

From the days when theatre at Harvard meant a handful of dedicated participants, there are now more interested people than can be comfortably accommodated. Harold R. Scott '57, who has been a leader in this revival of spirit, playing the dual roe of actor (John of Gaunt in the Eliot Drama Group's Richard II) and director (the HDC's Something Wild), estimated that there are "about 200 people from Harvard and Radcliffe who have performed in one show or another."

Change in Attitude

Someone absent from the Harvard scene since 1953-54 would be astonished at the change in attitude toward drama. How would be compelled to ask. "What caused this change?" In 1953 if he had been told that dramatics would hold a dominant position in the University in 1956, he would have said this would only be possible with a Harvard Theatre. The reasons for the turnabout in attitudes is not readibly explainable. Walter Kerr of the New York Herald-Tribune points to the recent surge of dramatic activity throughout the country as being based on a "removal of political suppression" and "economic prosperity," but at Harvard, students who have been active in drama since 1953 have a more empirical reason.

One of the best-informed people on recent developments in dramatic activity here is Stephen A. Aaron '57, who has directed such successes as last year's The Sea Gull and Threepenny Opera and this season's Death of a Salesman. Aaron believes that the unexpected success of last year's Threepenny Opera, given by the Lowell House Opera Society, was the turning point--the signal which opened the way for the present burst of activity.

Up until 1955, the Lowell House group was a pleasant, conservative organization which produced Baroque operas and works of similar limited appeal. In 1954, for instance, the group produced King Arthur by John Dryden and Henry Purcell. The Society operated on a small budget, and was content to break even. In 1955, however, producer Fred Kimball '55 wanted to go beyond the self-imposed limitations of Lowell productions. He picked "The Threepenny" because it had a modern appeal, but still could fit within the framework of "opera." It is this same reasoning which has led the Society to produce The Golden Apple this weekend.

Needless to say, the "Threepenny" was a "smashing success" and sold out for five straight nights, the last one being added to meet an overwhelming demand. Aaron believes that this showed other House groups that performances of superior quality could be achieved in House Dining Halls, and could prove both financially and artistically successful.

The Rush Starts